Tag Archives: television

This graphic series continues to impress me. A lot happens in this installment, and I could certainly write extensively about it, but will focus on the two aspects which stood out most prominently for me.

While Shadow is driving, he picks up a young woman named Sam who is hitchhiking. As they are driving, they get into an interesting discussion regarding Herodotus.

Shadow: It’s like he’s writing these histories, and they’re pretty good histories. Loads of weird little details. And then there are the stories with gods in them. Some guy is running back to report on the outcome of a battle and he’s running and running, and he sees Pan in a glade… and Pan says… “Tell them to build me a temple here.” So he says… “Okay.” … and runs the rest of the way back. And he reports the battle news, and then he says… “Oh, and by the way, Pan wants you to build him temple.” It’s really matter-of-fact, you know?

Sam: I read some book about brains, how five thousand years ago, the lobes of the brain fused, and before that people thought when the right lobe of the brain said anything, it was the voice of God. It’s just brains.

Shadow: I like my theory better.

Sam: What’s your theory?

Shadow: That back then people used to run into the gods from time to time.

I had read Herodotus back in college and remembering liking his histories. Probably something I should read again at some point. But what struck me the most about this section is how, in the past, people did have more interaction with their gods than they do today. I think it is because we have become more distracted by the trappings of our manufactured societies. We have replaced our old gods with new gods, gods of science, technology, commerce, and so forth. Which segues nicely into the next section I want to share.

In this scene, Shadow is watching television in a motel room, and a goddess manifests as Lucille Ball on the TV. She intimates to him that she is one of the new gods, who are the future.

Look at it like this, Shadow: we are the coming thing. We’re shopping malls, we’re online shopping. Your friends are crappy roadside attractions. We are now and tomorrow. Your friends are yesterday.

As I pondered this, I recalled sadly when my wife and I recently went to Cherokee. We went into some of the “Native American” gift shops, and they were all filled with manufactured garbage from China that was supposed to capture the power of what was once a mighty spiritual system. It was depressing. I could not find a single item that was actually made by a Native American craftsperson. I ended up buying only some locally roasted coffee.

Since this is probably my favorite graphic tale on the shelves these days, it goes without saying that I was pretty excited to hear that it is also being developed into a television series. According to the studios:

“‘The Chilling Adventures of Sabrina’ reimagines the origin and adventures of ‘Sabrina the Teenage Witch’ as a dark coming-of-age story that traffics in horror, the occult and, of course, witchcraft. Tonally in the vein of ‘Rosemary’s Baby’ and ‘The Exorcist,’ this adaptation finds Sabrina wrestling to reconcile her dual nature — half-witch, half-mortal — while standing against the evil forces that threaten her, her family and the daylight world humans inhabit.”

Anyway, this issue continues to explore the darkest corners of human nature, including incestuous thoughts that Sabrina’s resurrected father entertains. But for me what makes this issue, and the series as a whole, most interesting is the incorporation of mythology and occult philosophy.

As a back story, Sabrina performed an act of necromancy to raise her dead boyfriend, Harvey. Unbeknownst to her, she actually resurrected her dead father in the form of her boyfriend. Sabrina’s aunts summon psychopomps to ferry the resurrected soul back to the realm of the dead. “Psychopomps are creatures, spirits, angels, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Their role is not to judge the deceased, but simply to provide safe passage. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, owls, sparrows and cuckoos.” In this story, the psychopomps are visually depicted as cerebral jellyfish, sort of brains with tentacles, which is interesting when one considers that Carl Jung asserted that “the psychopomp is a mediator between the unconscious and conscious realms.” (Source: Wikipedia)

The installment ends on a dark and foreboding note. Sabrina’s cousin, Ambrose, reminds her of a basic tenet in the mystical arts, that every act has its consequence and the cost of the act must always be paid in full.

“Everything must be paid for, cousin… including Harvey. You ultimately ripped Harvey from his grave… so now you must send someone else to their premature death. Put plainly… you’re going to have to kill someone, Sabrina.”

Everything we do has a consequence, and this should be remembered at all times when we deal with others in the world. Nothing that we do is free from impunity. This is a natural law from which there is no avoidance.

First off, I find it weird that Chuck Berry and Chuck Barris died within a week. Their names as so similar it is just an odd coincidence.

Anyway, I met Chuck Barris at a reading when he came out with The Big Question. The book is good, kind of a dystopian view of TV game shows, something he would know about. During the Q-and-A session I asked him what the most outrageous act was that he ever had on The Gong Show. He told me it was The Popsicle Twins. They put them forth assuming the censors would be so offended they would ban them and then they would be able to slide some borderline acts under the radar, but lo and behold, they were not censored. Of course, I went right home and looked up “Gong Show Popsicle Twins” on YouTube. Yeah… it’s exactly what you expect. But the commentary from the judges is priceless.

After the reading and discussion, Chuck was kind enough to sign the copy of my book.

While I do not consider him a literary great, and some people would go as far as saying he decimated culture, but I still consider him an icon of popular culture. If you grew up in the 70’s like I did, there was no escaping The Gong Show and the impact it had. And then there is the question raised in his autobiography, Confessions of a Dangerous Mind. Was he also a CIA operative? The CIA denies this claim, but isn’t that exactly what the CIA does–deny allegations? I suppose we will now never know the truth.

On my last trip to Comic Envy, the owner had added a new comic to my folder, thinking it would be something I might find interesting. He obviously knows my taste. This is the first installment of a new series based on the television series of the same name. When I was younger, I watched “Tales from the Darkside” a lot. The program featured short vignettes about supernatural occurrences. I found it to be like a modern Twilight Zone, creepy tales, usually with a twist at the end. Anyway, I was definitely intrigued by the comic.

So this tale is about a lifeguard who falls asleep at work, resulting in the drowning death of a woman. He gets off in court, but is consumed with guilt and remorse. Then something strange begins to happen. He starts having a narcoleptic effect on people. Everyone he encounters falls into a deep sleep, adding to his psychological isolation and torment.

In keeping with the original television series, there is a nice twist at the end. Sorry, I’m not going to spoil it. You’ll have to read it for yourself.

I will definitely continue reading this. The next tale will be delivered in two installments. I’m thinking I will wait until I have both issues, then read them consecutively, so you will have to wait a while for the next post on this graphic novel. But remember…

The darkside is always there,
waiting for us to enter—
waiting to enter us.
Until next time,
Try to enjoy the daylight.

I picked this graphic novel up at last year’s Asheville Comic Expo and got it signed by writer/artist Mike Grell. I have to say that Mike was not the friendliest of the writers and artists I met that day, but whatever. Maybe he was tired or having a rough day. Anyway, it took me a while, but finally got around to reading it and overall I liked the book. I watched the “Arrow” series on TV but had never read any of the graphic novels. I must admit I was happy with this one and would certainly consider reading more in the future.

For those of you who are unfamiliar with the story, the Green Arrow is Oliver Queen, and he is sort of like a cross between Batman and Robin Hood. I actually like that he does not possess any “superhuman” powers and relies on his physical strength and prowess.

In this novel, he is aged and reflecting back on his life. It is during this time that a mysterious female assassin appears who also uses a bow. This woman is systematically killing members of a crime organization who have a shrouded history.

What I found most interesting about the story is that the mysterious woman, known as Shado, is essentially the Jungian shadow aspect of Oliver’s psyche. She is able to kill without remorse, whereas Oliver struggles with moral issues, not wanting to take a life even though doing so is justified.

The hits on the target are only the outward proof of your mastery… like the symbol of the dragon you bear – a symbol of dishonor. Both are meaningless. You have transcended goals. You are the artless art. You are Shado.

(p. 95)

Toward the end, when Oliver faces Shado, it becomes clear that the two are different aspects of the same self, symbolic mirrors of themselves. It is symbolic of Oliver facing that part of himself that he has sought to repress.

Oliver: Why did you bring me here?

Shado: You have been hunting me. At least this way I don’t have to wonder where you are. We are alike, you and I.

Oliver: No. I’m nothing like you.

Shado: No? You want Magnor for what he did to that woman. I want him for what he did to my honor. How is your vengeance different from mine?

(pp. 130 – 131)

I’d like to close this post by talking a little bit about the artwork. It’s very good. Most writers of graphic novels seem to rely on others to create artwork to accompany the story, but Grell handle both the writing and the artwork with equal skill. I was impressed with both, and the fact that Grell did all this on his own is a testament to his artistic talent and versatility.

I have to say, I was intrigued by the title of this essay (included in Turning Back the Clock), particularly given the distrust of foreigners that many Americans currently feel. There are some correlations between the essay and current affairs in the United States, but not ones I expected.

The first correlation is in regard to news media. Eco explains how the veracity of news is determined by whether the views expressed support the established views of the reader. This has been taken to the extreme in the US, where people on the left see MSNBC as the source of truth and those on the right assume FOX News is the source of truth. But the fact is that both sources are biased and the truth lies somewhere else.

By this reasoning, if a public prosecutor accuses us of a crime, then he is an agent of the plot, and if he acquits us, he is virtuous and upright. It’s like saying that The Economist is trash because it criticizes the Polo candidate, but The Times is a model of journalism because it is more indulgent toward him. Where will we end up if we fall into such barbarism?

(Turning Back the Clock: p. 158)

Eco also points out that many politicians now rely on negative campaigning to differentiate themselves from the opposing candidate. It’s the “Vote for me because I am not that person” ploy, and it seems to resonate. I hear people saying they will vote for one candidate solely because they do not like the other candidate.

Many politicians have run for office saying that they wouldn’t behave like the Soviet Union, or Haider, that they weren’t Nazis or Stalinists, that they harbored no authoritarian ambitions, that they didn’t want their country to be reduced to the level of those governed by Idi Amin Dada, Francois Duvalier, Saddam Hussein, and so on.

(ibid: p. 160)

But the thing that stands out the most for me in this essay is a section regarding Americans, how we are a diverse culture bound together by rules of coexistence.

It’s hard to say who the Americans really are, because they are the descendants of the old British Protestant pioneers, Jews, Italians, Irish, Poles, Puerto Ricans, and God knows how many others. But what makes the United States a nation is the fact that all Americans have absorbed a fundamental principle, one that—when the time is right—also fuels their patriotism. The principle is very simple: This is the country where I make a living and allows me, if I can, to become rich, so I must accept some of its rules of coexistence.

(ibid: p. 161)

Maybe this was the case in 2003, but I see a growing disregard for the rules of coexistence in this country. In fact, there seems to be a reaction against the rules of coexistence. A growing number of very vocal individuals appear to want rules of exclusivity that favor one group above others. I find this a frightening trend and one that is bound to end poorly if it continues.

As the 2016 election campaigns continue and the rhetoric becomes more vitriolic, I feel powerless to do much other than share my thoughts and watch how it all unfolds.

This essay, included in Turning Back the Clock: Hot Wars and Media Populism, is actually comprised of several shorter essays on the same theme. It’s very timely, considering the media circus surrounding the presidential primaries here in the US.

Anyone who is even vaguely aware of the US primaries will likely agree with Eco’s assertion regarding how a politician can dominate the media.

He makes promises that—good, bad, or indifferent as they may seem to his supporters—are a provocation to his critics. He comes up with a provocation a day, and if they are bizarre or outrageous, so much the better. This allows him to occupy the front pages of the paper and the breaking news on television, with the result that he is always at the center of attention. The provocation must be calculated to ensure that the opposition cannot avoid picking up the gauntlet and reacting vigorously.

(p. 134)

One thing I found enlightening in this essay was Eco’s explanation of how news stories use structure to validate their arguments while positioning their view as the truth in a debate.

Television works this way. If there is a debate about a law, the issue is presented and the opposition is immediately given the chance to put forward all its arguments. This is followed by government supporters, who counter the objections. The result is predictable: he who speaks last is right. If you carefully follow all the TV news programs, you will see this strategy: the project is presented, the opposition speaks first, the government supporters speak last. Never the other way around.

A media regime has no need to imprison its opponents. It doesn’t silence them by censorship, it merely has them give their arguments first.

(pp. 144 – 145)

Finally, Eco asserts that electoral campaigns have become a spectacle focusing on appearances.

The electoral campaign emerges as a spectacle of form, in which what matters is not what the candidate actually stands for but how he appears to others.

(p. 155)

So what is a voting citizen to think about all this? It’s a legitimate question and one that Eco poses as the conclusion of his essay.

When you finish reading, you wonder: Is this really what democracy is all about? A way to gain public favor, based only on orchestrated appearances and a strategy of deceit?

(p. 156)

Ever the idealist, I’d still like to believe that democracy means more, that it is still about advancing humanity and civilization. As always, thanks for stopping by and taking the time to read thought-provoking stuff.